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Monday, March 19
 

11:00am

Course Guidance for Prospective HTW Students
Limited Capacity seats available

Interested in studying film preservation at HTW Berlin? Prof. Dr. Ulrich Rüdel is available for individual consultation - pre-registration by email to ulrich.ruedel@htw-berlin.de is recommended, but not required.

The HTW – University of Applied Science’s degree course in the preservation of audiovisual and photographic cultural heritage offers a uniquely interdisciplinary scientific-materials and hands-on training approach. Film preservation, the youngest of conservation and restoration disciplines, is pursued in an in-depth programme, not only alongside photography preservation but within the entire context of cultural heritage conservation.
Individual professorships at HTW are devoted to teaching each of the respective realms of cultural heritage to be preserved – archaeological and historical artifacts, modern materials and industrial heritage, and audiovisual and photographic heritage – as well as to teaching the practices of unearthing and scientifically investigating cultural heritage (i.e., field archaeology and conservation science).
Students enroll in one of the programme’s focus areas to participate both in interdisciplinary classes across courses and in focus seminars by the respective teachers or visiting scholars in the specialties unique to their field. Course topics for the audiovisual/photographic preservation curriculum thus range from cultural to film and photo history; manual photography retouching to digital moving image processing; general materials science to photographic chemistry; and collection surveys and passive conservation to film reconstruction and restoration. Within the curriculum, the choice of individual projects, course and thesis subjects, and external internships allows students to pursue a somewhat broader education, or to focus on a particular area of interest (for instance, film preservation or sound restoration).
The school offers both a Bachelor’s degree and a subsequent Master’s programme. Given certain prerequisites, candidates with Bachelor’s degrees from other programmes may directly enroll for the Master’s degree, offering further opportunities for those with previous moving image studies or preservation training or credentials. Graduates from the programme have thus found employment in institutions ranging from EYE Filmmuseum to the Deutsche Kinemathek, from the Swedish Film Institute to the Bundesarchiv/German Federal Archives.
Teaching is both in German and English, and some German knowledge is required for taking part in the programme, but certified proficiency in the language is only required after the first year of study. Individual consultations in English are available, and homework assignments, presentations, and theses in English are encouraged. Indeed, international visitors have always been a vital and integral part of the student body, and the programme aims to further its global integration and international appeal. Thus, international candidates interested in studying moving image preservation in Germany in one of the world’s most vibrant municipalities are emphatically encouraged to apply. (http://www.fiafnet.org/pages/Community/Supporters-HTW.html)

Speakers
avatar for Ulrich Ruedel

Ulrich Ruedel

Professor, HTW - University of Applied Sciences Berlin
Ulrich Ruedel holds a doctorate in Analytical Chemistry from the University of Muenster, Germany and has worked on optical biochemical sensors and intellectual property rights before turning to the practice and science of film preservation. As a 2005 graduate of the L. Jeffrey Selznick... Read More →



Monday March 19, 2018 11:00am - 12:00pm
BFI Southbank: Blue Room Belvedere Rd, South Bank, London SE1 8XT

12:00pm

Registration
BFI Southbank lobby, opposite from the BFI Book Store.

Monday March 19, 2018 12:00pm - 1:00pm
BFI Southbank NFT3 Belvedere Rd, South Bank, London SE1 8XT

1:00pm

Opening
Limited Capacity seats available

Speakers
avatar for Ulrich Ruedel

Ulrich Ruedel

Professor, HTW - University of Applied Sciences Berlin
Ulrich Ruedel holds a doctorate in Analytical Chemistry from the University of Muenster, Germany and has worked on optical biochemical sensors and intellectual property rights before turning to the practice and science of film preservation. As a 2005 graduate of the L. Jeffrey Selznick... Read More →
avatar for Elza Tantcheva-Burdge

Elza Tantcheva-Burdge

Chairman, The Colour Group
Elza Tantcheva-Burdge is presently the Chairman of the Colour Group (Great Britain). Her background is in both science and art and design. She attained masters in both and worked in industry and research before deciding to combine her interests in colour both in science and in art... Read More →


Monday March 19, 2018 1:00pm - 1:10pm
BFI Southbank NFT3 Belvedere Rd, South Bank, London SE1 8XT

1:15pm

Screening: F Is For Fabulous: Fireworks, Fountains, Flowers, Fairies, Falls (and Food).
Limited Capacity seats available

And F is for film – on film.

A fabulous selection of applied colour shorts from the BFI collections, specially curated for this event by Bryony Dixon, all in 35mm prints, with live music by Stephen Horne.

1904 Festa Pirotechnica ne cielo del Londra 180ft  3 mins
1911 Chrysanthemums (Gaumont)   184ft    Vc 3 mins
1909  Whimsical People  / les Lunatiques      194ft  Pathé      3 mins      
1913 A Saunter through Old Rome 361ft   5 mins
1931 Opening Buds in Spring 397ft 5 mins
1907 Baiser de la Sorciere 363ft 5  mins
1913  Alas And Alack    774   Vc col section 47 ft 1 min
1910s Early Food Manufacture    66ft  1 min
1919 Gems of American Scenery 881 ft 7 mins (extract)
1905 Fontaine Lumineuse a Versailles 231ft  4 mins

Speakers
avatar for Bryony Dixon

Bryony Dixon

BFI National Archive
"Bryony has researched and written on many aspects of early and silent film and co-directs the annual British Silent Film Festival, as well as programming for a variety of film festivals and events worldwide. She has given papers at academic conferences on film and organised the first... Read More →
avatar for Jane Fernandes

Jane Fernandes

Conservation Specialist, BFI
Jane is a member of the conservation team at the BFI National Archive. She first joined the archive in December 2013 as a video conservation specialist before moving in to film conservation in October 2015. Before this she worked at facilities company in London. Jane studied film... Read More →


Monday March 19, 2018 1:15pm - 2:15pm
BFI Southbank NFT3 Belvedere Rd, South Bank, London SE1 8XT

2:15pm

Screening: Lea aus dem Süden (GDR 1963, Gottfried Kolditz) in Agfacolor
Limited Capacity seats available

Speakers
avatar for Barbara Flueckiger

Barbara Flueckiger

Professor / Principal Investigator, ERC Advanced Grant FilmColors and SNF Film Colors, University of Zurich
Barbara Flueckiger has been a professor for film studies at the University of Zurich since 2007. Before her studies in film theory and history, she worked internationally as a film professional. She is the author of two text books about “Sound Design” and “Visual Effects... Read More →


Monday March 19, 2018 2:15pm - 2:30pm
BFI Southbank NFT3 Belvedere Rd, South Bank, London SE1 8XT

2:30pm

Break
Monday March 19, 2018 2:30pm - 2:45pm
BFI Southbank NFT3 Belvedere Rd, South Bank, London SE1 8XT

2:45pm

Screening: Tinted Talkies
Limited Capacity seats available

Speakers
avatar for Anthony Labbate

Anthony Labbate

Preservation Manager, Moving Image Department, George Eastman Museum
Anthony is a 1999 graduate of The L. Jeffrey Selznick School of Film Preservation. After graduation he worked at Cinema Arts for two years before returning to the Eastman Museum in 2001. Anthony was the Stills and Paper archivist until 2007 when he moved into preservation within the... Read More →


Monday March 19, 2018 2:45pm - 3:15pm
BFI Southbank NFT3 Belvedere Rd, South Bank, London SE1 8XT

3:15pm

Presentation: Colour in Film at BFI
Limited Capacity seats available

Speakers
KW

Kieron Webb

Film Conservation Manager, BFI
"Kieron coordinates the technical work on the Archive’s restorations, including the identification of the best source materials and designing the approach of restoration work with all the other teams at the Archive’s Conservation Centre. He has worked on the restorations of the... Read More →


Monday March 19, 2018 3:15pm - 4:05pm
BFI Southbank NFT3 Belvedere Rd, South Bank, London SE1 8XT

3:20pm

Screening: This Is Colour (GBR 1942, Jack Ellitt)
Limited Capacity seats available

Speakers
BT

Ben Thompson

BFI National Archive


Monday March 19, 2018 3:20pm - 3:50pm
BFI Southbank NFT3 Belvedere Rd, South Bank, London SE1 8XT

3:50pm

Screening: Ruins of Palmyra and Baalbeck
Limited Capacity seats available

Speakers
avatar for Ros Cranston

Ros Cranston

Non-Fiction Film & TV Curator, BFI National Archive
Ros’s interests include women documentary filmmakers, political and campaigning film and the documentary and fiction work of Ken Loach. She has been a cataloguer, acquisitions officer and curator since she joined the British Film Institute in 1992. She is leader of the BFI project... Read More →


Monday March 19, 2018 3:50pm - 4:05pm
BFI Southbank NFT3 Belvedere Rd, South Bank, London SE1 8XT

4:05pm

Keynote: The Colour Fantastic. Two Decades of Research into the Colours of Silent Cinema
Limited Capacity seats available

Speakers
avatar for Giovanna Fossati

Giovanna Fossati

Chief Curator / Professor, EYE Filmmuseum / University of Amsterdam
Giovanna Fossati is Professor of Film Heritage and Digital Film Culture at the University of Amsterdam where she has taught in the MA Preservation and Presentation of the Moving Image Program since it was established, in 2003. She is also the Chief Curator at EYE Filmmuseum (Amsterdam... Read More →


Monday March 19, 2018 4:05pm - 4:50pm
BFI Southbank NFT3 Belvedere Rd, South Bank, London SE1 8XT

4:50pm

Q&A
Limited Capacity seats available

Speakers
avatar for Barbara Flueckiger

Barbara Flueckiger

Professor / Principal Investigator, ERC Advanced Grant FilmColors and SNF Film Colors, University of Zurich
Barbara Flueckiger has been a professor for film studies at the University of Zurich since 2007. Before her studies in film theory and history, she worked internationally as a film professional. She is the author of two text books about “Sound Design” and “Visual Effects... Read More →
avatar for Ulrich Ruedel

Ulrich Ruedel

Professor, HTW - University of Applied Sciences Berlin
Ulrich Ruedel holds a doctorate in Analytical Chemistry from the University of Muenster, Germany and has worked on optical biochemical sensors and intellectual property rights before turning to the practice and science of film preservation. As a 2005 graduate of the L. Jeffrey Selznick... Read More →


Monday March 19, 2018 4:50pm - 5:10pm
BFI Southbank NFT3 Belvedere Rd, South Bank, London SE1 8XT

5:10pm

Preview Day 2 & Close
Limited Capacity seats available

Speakers
avatar for Ulrich Ruedel

Ulrich Ruedel

Professor, HTW - University of Applied Sciences Berlin
Ulrich Ruedel holds a doctorate in Analytical Chemistry from the University of Muenster, Germany and has worked on optical biochemical sensors and intellectual property rights before turning to the practice and science of film preservation. As a 2005 graduate of the L. Jeffrey Selznick... Read More →
avatar for Elza Tantcheva-Burdge

Elza Tantcheva-Burdge

Chairman, The Colour Group
Elza Tantcheva-Burdge is presently the Chairman of the Colour Group (Great Britain). Her background is in both science and art and design. She attained masters in both and worked in industry and research before deciding to combine her interests in colour both in science and in art... Read More →


Monday March 19, 2018 5:10pm - 5:15pm
BFI Southbank NFT3 Belvedere Rd, South Bank, London SE1 8XT

5:30pm

Reception
Limited Capacity seats available

Monday March 19, 2018 5:30pm - 7:00pm
BFI Southbank: Blue Room Belvedere Rd, South Bank, London SE1 8XT
 
Tuesday, March 20
 

9:30am

FilmColors – Bridging the Gap Between Technology and Aesthetics
Limited Capacity seats available

Two research projects have been investigating film colors at the Department of Film Studies of the University of Zurich since 2015 and 2016:

ERC Advanced Grant FilmColors investigates the relationship between color film technology and aesthetics with a variety of methods ranging from aesthetic analysis and studies of technical papers to scientific material analysis and film digitization and restoration. To this end the project develops and applies software for the (semi-)automatic annotation and visualization of color films in the emerging field of digital humanities. The project is funded by an Advanced Grant from the European Research Council, 2015–2020.  Link to project entry in the University of Zurich's research database.

SNSF Film Colors. Technologies, Cultures, Institutions, by contrast, focuses on the cultural and institutional context of the technological and aesthetic development of color film stocks and their application. The project is funded by the Swiss National Science Foundation, 2016–2020. Link to project entry in the University of Zurich's research database (in German).

In her introduction to the workshop FilmColors, consisting of five presentations by project team members, Barbara Flueckiger provides an update on the current status and an overview of planned developments, namely the digital humanities approach to the investigation of film colors.


Speakers
avatar for Barbara Flueckiger

Barbara Flueckiger

Professor / Principal Investigator, ERC Advanced Grant FilmColors and SNF Film Colors, University of Zurich
Barbara Flueckiger has been a professor for film studies at the University of Zurich since 2007. Before her studies in film theory and history, she worked internationally as a film professional. She is the author of two text books about “Sound Design” and “Visual Effects... Read More →



Tuesday March 20, 2018 9:30am - 10:00am
BFI Southbank NFT3 Belvedere Rd, South Bank, London SE1 8XT

9:30am

Workshop Part 1: FilmColors, University of Zurich
Limited Capacity seats available

Speakers
avatar for Bregt Lameris

Bregt Lameris

PostDoctoral Researcher, ERC Advanced Grant FilmColors, University of Zurich
Bregt Lameris is currently a Postdoctoral Researcher at the University of Zurich, where she is engaged within the project 'ERC Advanced Grant FilmColors: Bridging the Gap Between Technology and Aesthetics'. Other research interests include color in silent cinema, the history of film... Read More →


Tuesday March 20, 2018 9:30am - 12:00pm
BFI Southbank NFT3 Belvedere Rd, South Bank, London SE1 8XT

10:00am

The Transparency of Early Film Colors. Techniques, Aesthetics, Materials
Limited Capacity seats available

The Transparency of Early Film Colors: Techniques, Aesthetics, Materials 
The classical relation between transparency and color is not only a historical one situated in the fine arts, with different painting techniques, or in the theoretical framework of discourses of transparency and opacity. It is also an obviously desirable physical quality for lantern slides and film materials and their literal visibility. Taking the paradigm of transparency as a theory and as a raw material (Werkstoff) with a necessary visual effect, different material properties and parameters of the transparent in early color film will be discussed.

The focus of the discussion will be on the possibilities and limitations of technologies of early film color processes in relation to their specific materials, tools and techniques for color application or imbibition in order to achieve their determining (transparent or opaque) aesthetics, as well as in the very materiality of colored analog film as a physical and artistic artifact – and thereby its faktura. With faktura I refer to twentieth-century Russian formalism and its definition of surface descriptions of materials, which is used here as a concept to describe the interaction of the nitrate base to its layer of color application. Finally, aesthetics will be crucial to further investigate pro-filmic (semi-transparent) materials in set design that were commonly used to enhance a color process as well. Therefore, the methodological approach of this research consists of (experimental) media archaeology combined with material iconography and phenomenology as well as David Bordwell’s Historical Poetics. Important sources for this research are historical manuals, material catalogues, color recipes and color samples. These sources provide insight into application techniques and their materials, branding, chemistry, physics and aesthetics of color(-ing) at the beginning of the twentieth century.

Speakers
avatar for Olivia Kristina Stutz

Olivia Kristina Stutz

PhD student, ERC Advanced Grant FilmColors, University of Zurich
PhD candidate on early film color in the research project "Film Colors. Bridging the Gap Between Technology and Aesthetics", funded by an Advanced Grant of the European Research Council, and contributor to the Timeline of Historical Film Colors. My research focuses on the relationship... Read More →



Tuesday March 20, 2018 10:00am - 10:50am
BFI Southbank NFT3 Belvedere Rd, South Bank, London SE1 8XT

10:50am

Break
Tuesday March 20, 2018 10:50am - 11:10am
BFI Southbank NFT3 Belvedere Rd, South Bank, London SE1 8XT

11:10am

Challenging the Film Stock? Diffusion and Visual Complexity in Colour Film.
Limited Capacity seats available

Film stock is often overlooked in studies of the aesthetics of chromogenic colour films.
This presentation aims to fill this gap and explore the advantages of a combined approach. A corpus of films was parsed on the basis of a computer-assisted in-depth film analysis method executed with tools from the digital humanities. Two aesthetic patterns are at the focus of this research:

Creeping wafts of mist, dazzling light spots, dense snowstorms and half-transparent fabrics can obliterate the spectators’ view and create moments of optical diffusion. Diffusion reduces the ability to read an image. Likewise, highly complex image compositions can minimize the legibility of a filmic scene. Both situations can either be narratively motivated or develop aesthetic patterns with an autonomous status, strongly shaping the films’ visual appearance and experience.
 
On the one hand, this paper examines the different aesthetics of these two phenomena. On the other, in the tradition of a Historical Poetics as elaborated by David Bordwell (1989), the aesthetic analyses will be connected to a close examination of the chromogenic film stocks: What developments in film stock production could be responsible for an accumulation of optical diffusion at the end of the 1970s?
The questions will be answered through an investigation of the relationship between the aesthetics and technology of chromogenic colour films in the period between 1955 and 1995.

Speakers
avatar for Joëlle Kost

Joëlle Kost

PhD student, ERC Advanced Grant FilmColors, University of Zurich
From 2008 to 2015 I studied Art History, Film Studies and the Theory and History of Photography at the University of Zurich. In my master thesis I developed a filmic portrait of the swiss artist MARCK and produced a 40 minutes documentary from an art historian’s perspective. Since... Read More →



Tuesday March 20, 2018 11:10am - 12:00pm
BFI Southbank NFT3 Belvedere Rd, South Bank, London SE1 8XT

12:00pm

Lunch Break
Tuesday March 20, 2018 12:00pm - 1:00pm
Venue of your choice

12:55pm

Session 1: From Applied Colours to Electronics
Limited Capacity seats available

Speakers
avatar for Ulrich Ruedel

Ulrich Ruedel

Professor, HTW - University of Applied Sciences Berlin
Ulrich Ruedel holds a doctorate in Analytical Chemistry from the University of Muenster, Germany and has worked on optical biochemical sensors and intellectual property rights before turning to the practice and science of film preservation. As a 2005 graduate of the L. Jeffrey Selznick... Read More →


Tuesday March 20, 2018 12:55pm - 4:15pm
BFI Southbank NFT3 Belvedere Rd, South Bank, London SE1 8XT

1:00pm

Artificial Color Processes in Talking Pictures
Limited Capacity seats available

Artificial color process, such as tinting, toning and hand coloring, were part of the cinema’s language almost from the beginning. It was a language understood by film audiences. History tells us that these processes stopped with the introduction of sound because of optical track interference. The reality is more complicated and the fact is that these processes lasted far into the talking picture era finally ending with the almost universal adoption of Eastman Color in the the 1960’s.

Speakers
avatar for Anthony Labbate

Anthony Labbate

Preservation Manager, Moving Image Department, George Eastman Museum
Anthony is a 1999 graduate of The L. Jeffrey Selznick School of Film Preservation. After graduation he worked at Cinema Arts for two years before returning to the Eastman Museum in 2001. Anthony was the Stills and Paper archivist until 2007 when he moved into preservation within the... Read More →


Tuesday March 20, 2018 1:00pm - 1:45pm
BFI Southbank NFT3 Belvedere Rd, South Bank, London SE1 8XT

1:45pm

The Color Revolution. The Disney Studio, Du Pont and Faber Birren
Limited Capacity seats available

This paper argues that Classical Hollywood research in the 21st century must expand its research on the moving image to consider its wider role in visual culture, exploring in greater depth the material and aesthetic histories and business relationships between studios like Disney and other corporations, and taking as its test case the aesthetic, philosophical and material dimensions of color production in classical cel animation. Drawing upon my research into Disney’s paint and plastic formulas at the Du Pont, Faber Birren and Getty archives, I will outline this new approach as an expanded cultural and material history of synthetic color which contextualizes and reframes some of the distinctive aesthetic properties of Disney's rich and vibrant color palette of the thirties. Exploring the professional cross-connections between Walt Disney and Faber Birren, one of the most influential corporate American consultants in color design, marketing and aesthetics, and Du Pont, whose chemical research provided the color pigments, inks and nitrate cels used in Disney’s Technicolor films, will enrich our understanding of the role that Classical Hollywood, and more particularly, Disney animation played in the color revolution of the early twentieth century.
Bibliography
Selected papers, The Faber Birren Archives, Robert B. Haas Library, Yale University.
Selected materials from Du Pont Company Archives (Pigments) Hagley Library, Delaware.

Speakers
avatar for Kirsten Moana Thompson

Kirsten Moana Thompson

Seattle University
EDUCATIONPh.D. Cinema Studies, 1998 New York University, USAM.A. (First Class Honors) English Literature, 1989 Auckland University, New ZealandB.A. English Literature and History, 1986 Auckland University, New ZealandPROFESSIONAL HISTORYSeattle University, WA, Department of English... Read More →


Tuesday March 20, 2018 1:45pm - 2:30pm
BFI Southbank NFT3 Belvedere Rd, South Bank, London SE1 8XT

2:30pm

Break
Limited Capacity seats available

Tuesday March 20, 2018 2:30pm - 3:00pm
BFI Southbank NFT3 Belvedere Rd, South Bank, London SE1 8XT

3:00pm

The Colours of TV Displays
Limited Capacity seats available

What colours do we see when we watch television? How are they created in the screen itself? Are they really true to life? In this presentation, Mike investigates how cathode ray tube screens and later flat-panel technologies create colour by the natural laws of quantum mechanics. But how closely do these colours correspond with our experiences of colour in the natural world?

Speakers
avatar for Mike Kohler

Mike Kohler

BFI National Archive
Mike leads the Video and Audio Preservation team at the BFI National Archive, responsible for digitising and restoring curatorial selections of 'at risk' audio and videotape masters for preservation, and fulfilling access requests by the media industries. Since 1985, Mike has built... Read More →


Tuesday March 20, 2018 3:00pm - 3:30pm
BFI Southbank NFT3 Belvedere Rd, South Bank, London SE1 8XT

3:30pm

Polar Colours in Roald Amundsen's Films, Photographs, and Writings
Limited Capacity seats available

In this presentation I will examine the use of applied colour in film material relating to Roald Amundsen's polar expeditions in the 1910s and 1920s, and the preservation and dissemination of such material. The films were made public within a broader intermedial context relating to Amundsen's expeditions as media events, and colour is prevalent in several of the contemporary media manifestations of his endeavours - tinted and toned film images coexist along with strikingly coloured glass plates and other forms of photographic and printed objects. In addition, a number of striking descriptions of colour in Amundsen's own account of the South Pole expedition, published in 1912, suggest a variety of ways to think about colour, including experiential, material and technological approaches that both seem to underscore and destabilise the colonial and nationalist connotations associated with polar expeditions.

Speakers
avatar for Eirik Frisvold Hanssen

Eirik Frisvold Hanssen

Head of Film and Broadcasting Section, National Library of Norway
Eirik Frisvold Hanssen has written extensively on film history, colour and cinema, intermediality, and visual culture. Among his publications are Early Discourses on Colour and Cinema: Origins, Functions, Meanings (PhD diss., Stockholm University 2006), "Eisenstein in Colour" (Journal... Read More →


Tuesday March 20, 2018 3:30pm - 4:15pm
BFI Southbank NFT3 Belvedere Rd, South Bank, London SE1 8XT

4:15pm

Q&A
Limited Capacity seats available

Speakers
avatar for Barbara Flueckiger

Barbara Flueckiger

Professor / Principal Investigator, ERC Advanced Grant FilmColors and SNF Film Colors, University of Zurich
Barbara Flueckiger has been a professor for film studies at the University of Zurich since 2007. Before her studies in film theory and history, she worked internationally as a film professional. She is the author of two text books about “Sound Design” and “Visual Effects... Read More →
avatar for Ulrich Ruedel

Ulrich Ruedel

Professor, HTW - University of Applied Sciences Berlin
Ulrich Ruedel holds a doctorate in Analytical Chemistry from the University of Muenster, Germany and has worked on optical biochemical sensors and intellectual property rights before turning to the practice and science of film preservation. As a 2005 graduate of the L. Jeffrey Selznick... Read More →


Tuesday March 20, 2018 4:15pm - 4:50pm
BFI Southbank NFT3 Belvedere Rd, South Bank, London SE1 8XT

4:50pm

Preview Day 3 & Close
Limited Capacity seats available

Speakers
avatar for Ulrich Ruedel

Ulrich Ruedel

Professor, HTW - University of Applied Sciences Berlin
Ulrich Ruedel holds a doctorate in Analytical Chemistry from the University of Muenster, Germany and has worked on optical biochemical sensors and intellectual property rights before turning to the practice and science of film preservation. As a 2005 graduate of the L. Jeffrey Selznick... Read More →
avatar for Elza Tantcheva-Burdge

Elza Tantcheva-Burdge

Chairman, The Colour Group
Elza Tantcheva-Burdge is presently the Chairman of the Colour Group (Great Britain). Her background is in both science and art and design. She attained masters in both and worked in industry and research before deciding to combine her interests in colour both in science and in art... Read More →


Tuesday March 20, 2018 4:50pm - 4:59pm
BFI Southbank NFT3 Belvedere Rd, South Bank, London SE1 8XT

5:00pm

Introduction to Anke Wilkening's presentation "The Restoration of MÜNCHHAUSEN"
Limited Capacity seats available

Speakers
avatar for Barbara Flueckiger

Barbara Flueckiger

Professor / Principal Investigator, ERC Advanced Grant FilmColors and SNF Film Colors, University of Zurich
Barbara Flueckiger has been a professor for film studies at the University of Zurich since 2007. Before her studies in film theory and history, she worked internationally as a film professional. She is the author of two text books about “Sound Design” and “Visual Effects... Read More →


Tuesday March 20, 2018 5:00pm - 5:05pm
BFI Southbank NFT3 Belvedere Rd, South Bank, London SE1 8XT

5:05pm

The Restoration of MÜNCHHAUSEN
Limited Capacity seats available

Speakers
ML

Matteo Lepore

ARRI Media Munich
avatar for Anke Wilkening

Anke Wilkening

Film Restorer, Friedrich Wilhelm Murnau Foundation
Anke Wilkening is a film restorer at the Friedrich-Wilhelm-Murnau-Stiftung in Wiesbaden. She supervised restorations like METROPOLIS, DAS CABINET DES DR. CALIGARI or MÜNCHHAUSEN. Her publication work focuses on German cinema of the 1920s, film restoration and DVD editions. She is... Read More →


Tuesday March 20, 2018 5:05pm - 5:25pm
BFI Southbank NFT3 Belvedere Rd, South Bank, London SE1 8XT

6:00pm

Screening: Münchhausen (GER 1943, Josef von Báky), restoration 2017
Limited Capacity seats available

Tuesday March 20, 2018 6:00pm - 8:10pm
BFI Southbank NFT3 Belvedere Rd, South Bank, London SE1 8XT
 
Wednesday, March 21
 

9:25am

Workshop, Part 2: FilmColors, University of Zurich
Limited Capacity seats available

Speakers
avatar for Evelyn Echle

Evelyn Echle

Scientific Research Manager, ERC Advanced Grant FilmColors, University of Zurich
After working as a print editor for several years, I graduated in Film Studies and Literature (M.A., University of Bochum and Zurich). Influenced by the spirit of early cinema, I wrote my PhD thesis about ornamental patterns in silent movies at the University of Zurich. I also lectured... Read More →


Wednesday March 21, 2018 9:25am - 9:40am
Clore Centre Lecture Theatre, Birkbeck University, London

9:30am

Technological Development Between Art and Politics. The Case of Gasparcolor
Limited Capacity seats available

Technological Development Between Art and Politics: The Case of Gasparcolor
Situated in between avant-gardist color theories and political constraints, the case of Gasparcolor provides a fascinating example for the interplay of various social actors with colliding attitudes towards color film technology. At the moment of Gasparcolor’s introduction in Germany in the early 1930s, several parties involved were deeply interested in the development of a technologically advanced and reliable color film technology. However, their needs and expectations diverged significantly, as they alternated between strengthening national identity, demonstrating technological prowess, and colorful artistic expression.
Arguing for the importance of cultural, socio-political and industrial aspects in the development of color film technologies, this presentation will rely on SCOT - the social construction of technology approach - and a discourse analytical approach in order to delve into unequal power relations and the negotiations of Gasparcolor through different societal groups.

Speakers
avatar for Noemi Daugaard

Noemi Daugaard

PhD student, SNSF Project Filmcolors. Technologies, Cultures, Institutions.
PhD candidate on early film color technologies in the research project Filmcolors. Technologies, Cultures, Institutions, funded by the Swiss National Science Foundation. My research focuses on color film technologies from 1895 to 1940 and on the discourses surrounding their introduction... Read More →



Wednesday March 21, 2018 9:30am - 10:20am
Clore Centre Lecture Theatre, Birkbeck University, London

10:20am

Staging in Color. A Comparative Analysis of Technicolor and Agfacolor
Limited Capacity seats available

Much has been written about the technology and aesthetics of three-strip Technicolor and its place in classical Hollywood cinema. A similar literature on the German color process Agfacolor, extending beyond its role as an instrument for political propaganda during the Third Reich, is not yet present in the academic discourse on color film.
Taking the different technological principles as a starting point—mechanical versus chemical—the presentation will explore the aesthetic distinctions and similarities that arose from working with the respective film stocks in vastly different institutional contexts, albeit during roughly the same time period.
On the basis of detailed film analyses with the computer-assisted method applied in the research project, the paper focuses on the aesthetic aspects of mise en scène as described by André Bazin (1955). In the tradition of David Bordwell’s (1989) Historical Poetics, different strategies regarding the staging of the characters and their relation to the filmic space will be elaborated on and linked to the technological properties of the film color processes.

Speakers
avatar for Michelle Beutler

Michelle Beutler

PhD Student, ERC Advanced Grant FilmColors, University of Zurich
Bachelor of Arts in Media and Film Studies at the University of Zurich (2011). Master of Arts in Film Studies within the Netzwerk Cinema CH at the University of Zurich, Lausanne and Basel (2016). | Internship at the Friedrich Wilhelm Murnau Stiftung, Wiesbaden and ARRI, Munich assisting... Read More →



Wednesday March 21, 2018 10:20am - 11:10am
Clore Centre Lecture Theatre, Birkbeck University, London

11:10am

Break
Limited Capacity seats available

Wednesday March 21, 2018 11:10am - 11:30am
Clore Centre Lecture Theatre, Birkbeck University, London

11:30am

Socialist Identity in the Making. Lea aus dem Süden (Gottfried Kolditz, GDR 1963) between French Chic, Socialist Values and Consumer Culture
Limited Capacity seats available

Das Film-Magazin Nr. 4, Teil 2 - Lea aus dem Süden (Gottfried Kolditz, GDR 1963) belongs to the fairly unknown series of humorous short films produced by the East German DEFA Film Studios between 1960 and 1964. Its production unit Stacheltier was part of the politically and economically controlled film production system of the German Democratic Republic (GDR). Beginning in 1959, the seven production units followed official instructions and thematic plans of the Socialist Unity Party of Germany, with the objective of collective collaboration on artistic and ideological questions.
According to the bottom-up approaches in New Film History and Media Archaeology, individual aspects of a film’s history can be revealed with the help of film and non-film sources. These aspects demonstrate that the history and mode of production of a film do not start with the shooting, but rather earlier during the manufacturing of its film stock in a specific technical, socio-political and cultural context. Following this hypothesis, the encompassing social factors shape the material properties, such as mimetic colour film processes, that are based on chromogenic development, as well as their narrative and aesthetic functions.
Lea aus dem Süden has been digitized and analysed by various scientific criteria in the framework of the projects ERC Advanced Grant Film Colors and SNSF Film Colors. Technologies, Cultures, Institutions in cooperation with the DEFA Foundation. Different interrelations between material and film history will be addressed in this paper on the basis of this case study. This paper deals with the cultural and discursive practices associated with this colour film, shot in Agfacolor, and the ways in which they are intertwined with the political tensions of the time the film (stock) was produced. Furthermore, the presented topics of consumer and leisure culture foster the blurring of boundaries between socialist and capitalist identity formation shortly after the construction of the Berlin Wall. These undeniable connections raise questions about the individual identity of a society and its films that are usually referred to as typically “national” and require further debates about the application of corresponding terms.

Speakers
avatar for Josephine Diecke

Josephine Diecke

PhD Student, SNSF Project Filmcolors. Technologies, Cultures, Institutions
Bachelor of Arts in Film Studies and French Philology at the Johannes Gutenberg University, Mainz (2013). International Master of Arts in Audiovisual and Cinema Studies at the Johann Wolfgang Goethe University, Frankfurt am Main (2016) with a master thesis on the theoretical, practical... Read More →



Wednesday March 21, 2018 11:30am - 12:20pm
Clore Centre Lecture Theatre, Birkbeck University, London

12:20pm

Lunch Break
Wednesday March 21, 2018 12:20pm - 1:20pm
Venue of your choice

1:19pm

Session 2: Science, Techology and Aesthetics
Limited Capacity seats available

Speakers
avatar for Elza Tantcheva-Burdge

Elza Tantcheva-Burdge

Chairman, The Colour Group
Elza Tantcheva-Burdge is presently the Chairman of the Colour Group (Great Britain). Her background is in both science and art and design. She attained masters in both and worked in industry and research before deciding to combine her interests in colour both in science and in art... Read More →


Wednesday March 21, 2018 1:19pm - 3:35pm
Clore Centre Lecture Theatre, Birkbeck University, London

1:20pm

Colour Space and Colour Appearance - Colour Group Keynote
Limited Capacity seats available


Professor Michael Pointer worked in the Research Division of Kodak Limited for 28 years and is now a Visiting Professor at the University of Leeds and Technical Advisor to the Color Engineering Laboratory at Zhejiang University, Hangzhou, China. He is the co-author, with Robert W G Hunt, of Measuring Colour, now in its 4th Edition.





Speakers
avatar for Michael Pointer

Michael Pointer

Professor, Colour The Group (Great Britain)


Wednesday March 21, 2018 1:20pm - 2:05pm
Clore Centre Lecture Theatre, Birkbeck University, London

2:05pm

Colour Processing in Digital Motion Picture Cameras
Limited Capacity seats available

Within a decade, the motion picture industry changed from a film-based to a digital workflow. The milestones of this transformation were the digital intermediate (DI) process, digital cinema, and eventually, digital acquisition. Initially, each of these changes was judged against the performance of film. The digital workflow preserves some of the characteristics of film, mostly the separation into scene-referred, log-encoded images (derived from film scans) and output-referred or rendered images (derived from the print film). Digital motion-picture cameras became successful when they captured enough dynamic range to implement a rendering with a soft highlight roll-off, which is a key feature of the cinematic film look. Nevertheless, the digital transformation has changed the color palette of movies.

There are differences between the colour gamut of print film and the gamut of a digital display. The P3 gamut of the reference digital cinema projectors is larger along the directions of the primary RGB colors while in the lower lightness region, print film can produce more saturated colours in the hue range from green to blue (200 < h* < 300). RGB laser cinema projectors and even more OLED displays with lower black levels and more saturated primary colors will extend the digital gamut to include more of these hues.

Principle differences remain on the capture side. Neither camera negative nor digital cameras are colorimetric observers, meaning there is no generally accurate transform from the captured or scanned signals to scene colorimetry estimates. Transforms optimized for the reproduction of important surface color stimuli may produce problematic results for monochromatic or almost monochromatic stimuli. This is a challenge for architectures that try to build a unified workflow for digital cameras from different manufacturers and film-based acquisition.


Speakers
avatar for Harald Brendel

Harald Brendel

Teamlead Image Science, ARRI Cine Technik
I'm working in the motion-picture industry since 20 years. I have a background in postproduction (VFX, Digital Intermediate) and experience in international productions (New Zealand, USA, GB).I was involved in the development of the ARRISCAN film scanner and developed the ARRICUBE... Read More →


Wednesday March 21, 2018 2:05pm - 2:50pm
Clore Centre Lecture Theatre, Birkbeck University, London

2:50pm

Work in Progress. Key Questions for The Eastmancolor Revolution
Limited Capacity seats available

A joint presentation by The Eastmancolor Revolution and British Cinema, 1955-85 project team: Prof Sarah Street (University of Bristol), Dr Keith Johnston (UEA), Dr Carolyn Rickards (University of Bristol), Dr Paul Frith (UEA). The three-year project (2016-19) is funded by the Arts and Humanities Research Council.
 
The Eastmancolor Revolution and British Cinema project investigates the impact of Eastmancolor, a film stock introduced by Kodak in the 1950s, on British cinema. As a relatively cheap, 'monopack' stock that could be used in any camera, Eastmancolor revolutionised the ways in which colour films were made. Over the next thirty years colour filmmaking came to dominate sound cinema for the first time. The project's focus is on how British cinema, its filmmakers and other professionals adapted to one of the most important technical innovations in film history. In a series of short presentations, the project team report on key issues that have emerged as being of particular importance in the research conducted so far. Sarah Street will discuss how ‘The Canon’ - understandings of what constitutes British cinema in terms of critically-valued films, themes and approaches - presents critical issues for researchers into colour cinema. It raises key questions addressed by the project: How does looking at British cinema from the perspective of colour challenge received opinion on key films, filmmakers and technicians? Also, how does the story of colour in British cinema during the years 1955-85 contribute to our wider understanding of colour? Keith M. Johnston will explore the complex issues of naming and branding that occur across the period of the project in both industry discourse and public advertising. In part, this will consider how the historical record offers a complex (and often misleading) account of what counts as ‘Eastmancolor’ (or ‘Eastman Colour’ to use the British variation), how Eastman Kodak positioned its new process, and the parallel issue around the use of the ‘Technicolor’ brand name once 3-strip production ceased and the company switched to a range of processing methods. Interrogating the current findings of the project will address a central question: can we ever accurately know what an Eastmancolor film is? Paul Frith will give a demonstration of the project database which covers all British feature films produced in colour within the period of our study. Comprised of information collated from trade and industry publications pertaining to more than 2000 titles, the database represents a unique record of key personnel, colour processes and laboratories for each British film shot in colour during this period. Carolyn Rickards will focus on how the collected data can be used to interpret shifts in use of the Eastmancolor process throughout our research period.  This will include a discussion on film genres, studios and personnel who represent the major interests for our study. This contribution provides a general update on and oversight of some of the key research areas, themes and moments of interest across the thirty-year period as covered so far by the project team.


Speakers
avatar for Paul Frith

Paul Frith

The Eastmancolor Revolution, University of Bristol
Dr Paul Frith is a Research Associate working on the project at the University of East Anglia. In 2014, he completed his thesis on horror and realism in Britain during the 1940s, with publications on this subject appearing in The Journal of British Cinema and Television and Horror... Read More →
avatar for Keith Johnston

Keith Johnston

The Eastmancolor Revolution, University of Bristol
Dr Keith M. Johnston is Reader in Film & Television Studies at the University of East Anglia. He is co-investigator on “The Eastmancolor Revolution and British Cinema, 1955-85”. His research focuses on the interplay of technology, aesthetics and industry in British cinema, including... Read More →
avatar for Carolyn Rickards

Carolyn Rickards

The Eastmancolor Revolution, University of Bristol
Dr Carolyn Rickards is a Research Associate working on the project based at the University of Bristol. She received her PhD from the University of East Anglia in 2015. Her thesis investigated critical discourses attached to fantasy genre and ‘Britishness’ within the context of... Read More →
avatar for Sarah Street

Sarah Street

Professor and Principal Investigator, The Eastmancolor Revolution, University of Bristol
Sarah Street is Professor of Film at the University of Bristol, UK. She has published widely including British National Cinema (1997; 2nd ed. 2009), Transatlantic Crossings: British Feature Films in the USA (2002), Costume and Cinema (2001), Black Narcissus (2005) and (co-authored... Read More →


Wednesday March 21, 2018 2:50pm - 3:35pm
Clore Centre Lecture Theatre, Birkbeck University, London

3:35pm

Q & A
Limited Capacity seats available

Speakers
avatar for Barbara Flueckiger

Barbara Flueckiger

Professor / Principal Investigator, ERC Advanced Grant FilmColors and SNF Film Colors, University of Zurich
Barbara Flueckiger has been a professor for film studies at the University of Zurich since 2007. Before her studies in film theory and history, she worked internationally as a film professional. She is the author of two text books about “Sound Design” and “Visual Effects... Read More →
avatar for Ulrich Ruedel

Ulrich Ruedel

Professor, HTW - University of Applied Sciences Berlin
Ulrich Ruedel holds a doctorate in Analytical Chemistry from the University of Muenster, Germany and has worked on optical biochemical sensors and intellectual property rights before turning to the practice and science of film preservation. As a 2005 graduate of the L. Jeffrey Selznick... Read More →


Wednesday March 21, 2018 3:35pm - 3:55pm
Clore Centre Lecture Theatre, Birkbeck University, London

3:55pm

Preview of 2019 and Concluding Remarks
Limited Capacity seats available

Speakers
avatar for Ulrich Ruedel

Ulrich Ruedel

Professor, HTW - University of Applied Sciences Berlin
Ulrich Ruedel holds a doctorate in Analytical Chemistry from the University of Muenster, Germany and has worked on optical biochemical sensors and intellectual property rights before turning to the practice and science of film preservation. As a 2005 graduate of the L. Jeffrey Selznick... Read More →
avatar for Elza Tantcheva-Burdge

Elza Tantcheva-Burdge

Chairman, The Colour Group
Elza Tantcheva-Burdge is presently the Chairman of the Colour Group (Great Britain). Her background is in both science and art and design. She attained masters in both and worked in industry and research before deciding to combine her interests in colour both in science and in art... Read More →


Wednesday March 21, 2018 3:55pm - 4:05pm
Clore Centre Lecture Theatre, Birkbeck University, London